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Fujinon is a brand of optical lenses made by Fuji Photo Film Co., Ltd, now known as Fujifilm. Fujifilm's Fujinon lenses have been used by professional photographers and broadcast stations as well as cinematography. Fujifilm started manufacture of optical glass in its Odawara Factory in Japan in 1940, which was the start of the Fujinon brand. They were proud of their use of expensive Platinum crucibles to get the purest glass achievable at the time. Fujifilm also pioneered Electron Beam Coating (EBC) which according to Fujifilm, represented a new high in lens precision and performance. The EBC process was significantly different from other coating processes by the number of coating, the thinness of the coating, and the materials used for coating. Fujifilm claimed they were able to have as many as 14 layers of coating and used materials such as zirconium oxide, and cerium fluoride, which could not be used for coating in the conventional coating process.[1] The first lens to offer the Electron Beam Coating was the EBC Fujinon 55mm F3.5 Macro in 1972. Light transmission for the coating was said to be 99.8%. EBC later evolved into Super-EBC and HT-EBC (High Transmittance-Electron Beam Coating).

35mm format lenses

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Fujinon HK5.3X75 35mm PL mount zoom lens, focal length 75-400 mm.

Fujinon M42 screw mount

  • EBC Fujinon Fish Eye 16mm F2.8
  • EBC Fujinon-SW 19mm F3.5
  • EBC Fujinon-SW 24mm F2.8
  • EBC Fujinon-SW 28mm F3.5
  • Fujinon-SW 28mm F3.5
  • EBC Fujinon-W 35mm F1.9
  • EBC Fujinon-W 35mm F2.8
  • Fujinon-W 35mm F2.8
  • Fujinon-W 35mm F3.5
  • EBC Fujinon 50mm F1.4
  • Fujinon 50mm F1.4
  • Fujinon 55mm F1.6
  • EBC Fujinon 55mm F1.8
  • Fujinon 55mm F1.8
  • Fujinon 55mm F2.2
  • EBC Fujinon Macro 55mm F3.5
  • EBC Fujinon-SF 85mm F4 (Soft Focus)
  • EBC Fujinon-T 100mm F2.8
  • Fujinon-T 100mm F2.8
  • EBC Fujinon-T 135mm F2.5
  • EBC Fujinon-T 135mm F3.5
  • Fujinon-T 135mm F3.5
  • EBC Fujinon-T 200mm F4.5
  • EBC Fujinon-T 400mm F4.5
  • EBC Fujinon-T 600mm F5.6
  • EBC Fujinon-T 1000mm F8
  • Fujinon-Z 29-47mm F3.5-4.2
  • Fujinon-Z 43-75mm F3.5-4.5
  • Fujinon-Z 75-150mm F4.5
  • EBC Fujinon-Z 54-270mm F4.5
  • EBC Fujinon-Z 75-205mm F3.8

Lenses for the digital Fujifilm X system

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Fujinon XF Prime

  • XF8mm F3.5 R WR
  • XF14mm F2.8 R
  • XF16mm F1.4 R WR
  • XF16mm F2.8 R WR
  • XF18mm F1.4 R LM WR
  • XF18mm F2.0 R
  • XF23mm F1.4 R
  • XF23mm F1.4 R LM WR
  • XF23mm F2.0 R WR
  • XF27mm F2.8 R WR Pancake
  • XF30mm F2.8 R LM WR Macro
  • XF33mm F1.4 R LM WR
  • XF35mm F1.4 R
  • XF35mm F2.0 R WR
  • XF50mm F1.0 R WR
  • XF50mm F2.0 R WR
  • XF56mm F1.2 R
  • XF56mm F1.2 R APD
  • XF56mm F1.2 R WR
  • XF60mm F2.4 R Macro
  • XF80mm F2.8 R LM OIS WR Macro
  • XF90mm F2.0 R LM WR
  • XF200mm F2 R LM OIS WR

Fujinon XF Zoom

  • XF8-16mm F2.8 R LM WR
  • XF10-24mm F4 R OIS
  • XF16-55mm F2.8 R LM WR
  • XF16-80mm F4 R OIS WR
  • XF18-55mm F2.8-4.0 R LM OIS
  • XF18-120mm F4 LM PZ WR
  • XF18-135mm F3.5-5.6 R LM OIS WR
  • XF50-140mm F2.8 R LM OIS WR
  • XF55-200mm F3.5-4.8 R LM OIS
  • XF70-300mm F4-5.6 R LM OIS WR
  • XF100-400mm F4.5-5.6 R LM OIS WR
  • XF150-600mm F5.6-8 R LM OIS WR
  • XF1.4x TC WR
  • XF2.0x TC WR

Fujinon XC Prime & Zoom

  • XC35mm F2
  • XC15-45mm F3.5-5.6 PZ
  • XC16-50mm F3.5-5.6 OIS
  • XC16-50mm F3.5-5.6 OIS II
  • XC50-230mm F4.5-6.7 OIS
  • XC50-230mm F4.5-6.7 OIS II

Fujinon MKX cinema lenses

  • MKX 18-55mm T2.9
  • MKX 50-135mm T2.9

Lenses for the digital medium format Fujifilm GFX system

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Lenses equipped with the Fujifilm G-mount

Fujinon GF Prime

Fujinon Tilt/Shift

  • GF30mm F5.6 T/S[4]
  • GF110mm F5.6 T/S Macro[5]

Fujinon GF Zoom

  • GF20-35mm F4 R WR
  • GF32-64mm F4 R LM WR
  • GF35-70mm F4.5-5.6 WR
  • GF45-100mm F4 R LM OIS WR
  • GF100-200mm F5.6 R LM OIS WR

Fujinon GF Extender

  • GF1.4X TC WR

Large format lenses

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Fujinon SWD is the wide-angle Fujinon line. These lenses are 8 elements in 6 groups, and have an angle of view of 105°.

  • 65mm 1:5.6 (for 4×5 in)
  • 75mm 1:5.6
  • 90mm 1:5.6 (for 5×7 in)

Fujinon SW is a 6-element, 6-group line, with an angle of view of 100°.

  • 90mm 1:8.0 (for 4×5 in)
  • 105mm 1:8.0 (for 5×7 in)
  • 120mm 1:8.0
  • 125mm 1:8.0

Fujinon-W

  • 125mm 1:5.6
  • 135mm 1:5.6
  • 150mm 1:5.6
  • 150mm 1:6.3
  • 210mm 1:5.6
  • 250mm 1:6.3
  • 250mm 1:6.7

Fujinon CM-W

  • 105mm 1:5.6 (for 4×5 in)
  • 125mm 1:5.6
  • 135mm 1:5.6
  • 150mm 1:5.6 (for 5×7 in)
  • 180mm 1:5.6
  • 210mm 1:5.6
  • 250mm 1:6.3
  • 300mm 1:5.6 (for 8×10 in)
  • 360mm 1:6.5 (for 11×14 in)
  • 450mm 1:8.0

Fujinon A lenses are 6 elements in 4 groups, and have an angle of view of 70°. Some of them are multicoated with Fuji's multicoating, EBC (Electron Beam Coating).

  • 180mm 1:9.0 (for 5×7 in). Image circle at f/22: 252mm
  • 240mm 1:9.0 (for 8×10 in). Image circle at f/22: 336mm
  • 300mm 1:9.0 (for 8×10 in). Image circle at f/22: 420mm
  • 360mm 1:10.0 (for 8×10 in). Image circle at f/22: 504mm

Fujinon C is a line of 4-element, 4-group compact lenses.

  • 300mm 1:8.5 (for 8×10 in)
  • 450mm 1:12.5 (for 11×14 in)
  • 600mm 1:11.5 (for 14×17 in)

Fujinon-L

  • 210mm 1:5.6
  • 300mm 1:5.6 . Image circle : 343mm
  • 420mm 1:8.0

Fujinon T is a 5-element, 5-group line of telephoto designs.

  • 300mm 1:8.0 (for 4×5 in)
  • 400mm 1:8.0 (for 5×7 in)
  • 600mm 1:12.0

Fujinon T EBC for 35mm

  • 400mm f4.5

Soft Focus is a line of 3-element, 3-group soft focus lenses.

  • 180mm 1:5.6
  • 250mm 1:5.6

Medium format lenses

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Fujinon GX (M) are lenses for the Fuji GX680 series of cameras.

  • 50mm/1:5.6
  • 65mm/1:5.6
  • 80mm/1:5.6
  • 100mm/1:4.0
  • 115mm/1:3.2
  • 125mm/1:3.2
  • 125mm/1:5.6
  • 135mm/1:5.6
  • 135mm/1:4.0
  • 150mm/1:4.5
  • 180mm/1:5.6
  • 180mm/1:3.2
  • 210mm/1:5.6
  • 250mm/1:5.6
  • 300mm/1:6.3
  • 500mm/1:8.0
  • 190mm/1:8.0 Softfocus
  • 100-200mm/1:5.6 Zoom

Fujinon lenses for the Fuji GX617 camera

  • 90mm
  • 105mm
  • 180mm
  • 300mm[6]

Enlarging lenses

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Fujinar-E

  • 50mm 1:4.5
  • 75mm 1:4.5
  • 105mm 1:4.5

Fujinon-ES is a 4-element line, using a Tessar design.

  • 75mm 1:4.5
  • 90mm 1:4.5
  • 135mm 1:4.5

Fujinon-EP are high-quality enlarging lenses with 6 elements in 4 groups

  • 38mm 1:4.5
  • 50mm 1:3.5
  • 75mm 1:5.6
  • 90mm 1:5.6
  • 135mm 1:5.6

Fujinon-EX Some consist of 6 elements in 4 groups, some are 6 elements is 6 groups (Fuji's brochure advertised theme this way: "Because our air-spaced element design increases the number of air-to-glass surfaces, thereby increasing corner sharpness and image quality over cemented element designs".) All with Fuji's EBC multicoating (Electron Beam Coating)

  • 50mm 1:2.8, flange mounting screws: 39　P=1/26"
  • 75mm 1:4.5, flange mounting screws: 39　P=1/26"
  • 90mm 1:5.6, flange mounting screws: 39　P=1/26"
  • 105mm 1:5.6, flange mounting screws: 39　P=1/26"
  • 135mm 1:5.6, flange mounting screws: 53　P=0.75

C-Mount lenses

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"Fujinon-TV" CCTV Lenses: Manual Fixed for 1" sensors Fuji GX617[7]

  • 8mm 1:1.8 CF8A
  • 12.5mm 1:1.4 CF12.5A
  • 25mm 1:0.85 CF25L
  • 25mm 1:1.4 CF25B
  • 50mm 1:0.7 CF50L
  • 50mm 1:1.4 CF50B
  • 75mm 1:1.8 CF75A

Monoculars and Binoculars

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  • PS-910 Passive Night Vision Monocular
  • Mariner XL Series
  • Nautilus Series
  • Poseidon Series
  • Polaris Series
  • Techno-Stabi
  • Stabiscope


See also

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fujinon

View on Grokipedia
from Grokipedia
Fujinon is a renowned brand of high-performance optical lenses and imaging devices produced by Corporation, specializing in applications such as broadcast television, cinema production, surveillance systems, , and projectors. Established as part of Fujifilm's expansion into , the brand traces its origins to 1947 with the release of FUJINON binoculars, building on Fujifilm's foundational expertise in photosensitive materials dating back to the company's founding in 1934. Over the decades, Fujinon has evolved into a global leader in lens technology, offering products that range from large-aperture 8K broadcast lenses to compact , emphasizing superior resolution, contrast, and . The development of Fujinon's lens portfolio accelerated in the , with for television lenses beginning in 1962, leading to the brand's first major foray into professional broadcasting equipment. By the , Fujinon had established international subsidiaries, including Fujinon Inc. in New York in 1973, to support growing demand in and beyond. Key milestones include the introduction of innovative cinema zoom lenses in the and the pioneering of in the early 2000s, reflecting Fujinon's commitment to adapting to technological shifts in imaging. Today, Fujinon lenses are integral to professional workflows worldwide, from Hollywood film sets to industrial inspection systems, underscoring the brand's role in advancing visual storytelling and precision . Fujinon's accolades highlight its technological impact, particularly in broadcasting, where it has received the Technology & Engineering Emmy Award multiple times for innovations such as 4K zoom lenses and precision focus systems. Notable product lines include the FUJINON MK series for cinema, offering versatile zoom ranges with minimal chromatic aberration, and the SX series for long-range surveillance cameras, capable of focal lengths up to 800 mm. In machine vision, Fujinon's HF-XA series delivers 4D high-resolution performance for edge-to-edge sharpness in manufacturing applications. These advancements, combined with Fujifilm's century-long heritage in image science, position Fujinon as a cornerstone of professional and industrial optics.

History and Development

Origins and Early Manufacturing

was founded on January 20, 1934, as Fuji Photo Film Co., Ltd., with an initial focus on producing photosensitive materials such as , printing paper, and chemicals to meet domestic demand in . In 1938, the company expanded its scope by deciding to develop optical technologies, including research into optic glass, lenses, and cameras, which laid the groundwork for its entry into . This decision coincided with the establishment of the Odawara Factory in June of that year, initially for broader production needs but soon dedicated to optical work. By 1940, Fujinon commenced production of optical elements at the Factory, succeeding in melting 12 kinds of optical glasses essential for lenses and other components. To ensure high purity in the glass, the process employed expensive crucibles, which minimized impurities and reactions during melting—a technique that set Fujinon apart in achieving superior optical quality. During , these efforts supported the manufacture of optical elements for cameras and projectors amid wartime constraints. Following Japan's defeat in 1945, Fujifilm faced significant challenges in postwar recovery, including resource shortages and reconstruction efforts, but gradually resumed optical production. In 1944, just before the war's end, the company had acquired operations from Enomoto Kogaku Seiki Manufacturing Co., Ltd., establishing Fuji Photo Optical Co., Ltd. to formalize its optical division. The first product under the Fujinon brand was binoculars released in 1947, marking the beginning of consumer-oriented optics. By the 1950s, as Japan's economy rebounded, Fujinon shifted toward consumer photography optics, introducing lenses like large-format models in 1951 to meet growing demand for high-quality imaging in commercial, group, and print photography. This transition marked Fujinon's evolution from wartime necessities to accessible photographic tools for the public.

Key Milestones and Expansions

In 1956, Fujifilm developed FUJIC, Japan's first electronic computer, specifically designed to perform the complex mass calculations essential for optical lens engineering, marking a significant advancement in efficient lens design processes. By 1962, the company initiated for television lenses, entering the broadcast market and laying the foundation for its future leadership in high-quality video imaging systems. In 1965, Fujifilm established Fuji Photo Film U.S.A., Inc. in New York to manage its North American business operations. A pivotal occurred in 1972 with the introduction of Electron Beam Coating (EBC) technology, first applied to the Fujinon 55mm f/3.5 Macro lens, which significantly reduced and ghosting while enhancing overall light transmission for superior image clarity. During the 1980s and 1990s, Fujinon expanded its global footprint through subsidiaries such as Fujinon Europe in 1980 and Fujinon in 1991, while deepening involvement in cinema lens production and forming partnerships for digital optics, including advancements in HDTV-compatible systems that broadened applications in professional filmmaking and . In the , Fujinon lenses were integrated into Fujifilm's digital mirrorless systems, including the X-series () and GFX medium-format (), expanding into modern .

Optical Technologies

Coating Innovations

Fujinon's coating innovations began with the introduction of Electron Beam Coating (EBC) in 1972, marking a pioneering advancement in multi-layer anti-reflective coatings deposited via electron beam evaporation. This technology was first applied to the EBC Fujinon 55mm f/3.5 Macro lens, enabling up to 14 layers of coating to minimize reflection at air-glass interfaces and achieve a transmission rate of 99.8%. By reducing and ghosting in complex lens designs, EBC significantly enhanced contrast and image clarity, earning the 25th Motion Picture and Television Engineering Award in for its innovative application in camera . In the , Fujinon evolved EBC into Super EBC, an improved multi-layer coating that provided greater durability against environmental factors while further suppressing ghosting and internal reflections. This iteration built on the original electron beam deposition process to offer enhanced resistance to scratches and abrasion, making it suitable for professional use in demanding conditions such as broadcast and cinema applications. Super EBC maintained high light transmission while optimizing performance across a broader spectrum of wavelengths, contributing to sharper images with reduced veiling glare. The development continued into the with High Transmittance Electron Beam Coating (HT-EBC), specifically tailored for digital-era lenses to maximize performance with image sensors sensitive to . HT-EBC employs advanced multi-layer deposition to achieve 99.8% and just 0.2% , effectively minimizing and boosting overall optical efficiency in high-resolution systems. This has been integral to Fujinon's modern lens lineup, including those for portable broadcast cameras, where it ensures superior contrast even under intense backlighting. Complementing these, Fujinon's Nano GI (Gradient Index) coating, introduced for aspherical elements, addresses oblique light incidence to drastically reduce ghosting in wide-angle designs. By creating a gradual transition between glass and air at the nanoscale, Nano GI suppresses reflections more effectively than traditional coatings, particularly in lenses with complex curvatures. Later iterations of Fujinon's coatings, including enhancements to Super EBC and HT-EBC, have pushed per-surface transmission rates toward 99.9%, as seen in high-end like certain binocular series, underscoring ongoing refinements for peak light throughput.

Design and Manufacturing Processes

Fujinon's lens design process has evolved significantly since the mid-20th century, beginning with the development of Japan's first electronic computer, FUJIC, in 1956, which automated complex calculations for optical design that previously relied on manual methods and analog tools. This foundational advancement enabled precise modeling of light paths and aberration correction, paving the way for modern (CAD) systems that utilize advanced simulation software to optimize lens configurations for minimal distortion and maximal resolution across various formats. Central to Fujinon's optical engineering are proprietary glass formulations featuring high refractive indices, which allow for more compact lens designs by bending light more efficiently within fewer elements. These materials are combined with aspherical elements, developed in-house to suppress spherical aberrations and field curvature, and extra-low dispersion (ED) elements that minimize chromatic aberrations by countering the varying of different wavelengths. The integration of these components ensures high image quality in diverse applications, from wide-angle to telephoto configurations. Manufacturing occurs primarily at facilities like the Factory, where optical glass production began in 1940, encompassing stages such as melting, grinding, and polishing to achieve precise surface curvatures. Assembly involves skilled technicians performing manual polishing and alignment of elements in environments to maintain sub-micron tolerances, followed by the application of multi-layer coatings post-assembly to enhance light transmission. Quality control at Fujinon incorporates rigorous Modulation Transfer Function (MTF) testing, which measures contrast and sharpness by evaluating how well lenses resolve fine details across the image field, ensuring performance consistency for both still and motion formats. This metric-driven approach verifies that each lens meets stringent standards for resolution and aberration control before distribution.

Still Photography Lenses

35mm Format Lenses

Fujinon's 35mm format lenses were developed primarily for the company's Fujica SLR cameras during the film era, offering a range of primes and zooms optimized for full-frame 35mm sensors with high optical performance through advanced coatings and designs. These lenses emphasized sharpness, contrast, and minimal aberrations, catering to professional and enthusiast photographers in genres like portraiture, landscapes, and . The introduction of Electron Beam Coating (EBC) marked a pivotal advancement, enabling better light transmission and reduced reflections in complex optical formulas. Among early prime lenses, the EBC Fujinon 55mm f/3.5 Macro, released in 1972, stood out as the first to incorporate EBC technology, featuring 14 layers of multi-coating applied via electron beam evaporation for exceptional flare resistance and 99% light transmission, making it ideal for work with 1:2 . Wide-angle options expanded creative possibilities, including the ultra-wide Fish-Eye EBC 16mm f/2.8, which delivered a 180-degree diagonal in a compact 12-element, 8-group design for dramatic perspectives, and the 24mm EBC f/2.8, a 9-element, 8-group lens prized for its rectilinear control and edge-to-edge sharpness in architectural and environmental shooting. Zoom lenses provided versatility without sacrificing quality, such as the 43-75mm f/3.5-4.5, a compact 7-element, 7-group standard zoom suitable for , and the 80-200mm f/3.8, featuring 13 elements in 9 groups for telephoto reach with consistent performance across the range. Telephoto primes rounded out the lineup, with the 200mm EBC f/4.5 offering 5 elements in 5 groups for and applications, and the 135mm EBC f/2.5 providing a fast in a 5-element, 4-group configuration to capture distant subjects with creamy and reduced color fringing. Production of these 35mm film lenses tapered off after Fujifilm discontinued the Fujica SLR line in 1985 amid the rise of autofocus systems, though their enduring legacy persists among film enthusiasts using adapted optics on modern bodies. The optical principles from these designs, particularly EBC and aspherical elements, influenced subsequent APS-C lenses for digital Fujifilm systems.

Medium and Large Format Lenses

Fujinon's medium format lenses were primarily developed for the company's own film cameras, such as the GX680 series, which utilized a 6x8 format closely aligned with 6x6 and 6x7 systems. A representative example is the Fujinon GX 80mm f/5.6, a standard lens offering sharp central performance with controlled distortion suitable for general photography on these formats. This lens features an image circle of approximately 200mm, ensuring full coverage for 6x6 (diagonal 79mm) and 6x7 (diagonal 90mm) film without vignetting, while allowing for minor camera movements on the GX680's bellows system. For portrait work in , Fujinon produced variants like the 180mm f/5.6 SF, which introduced deliberate optical diffusion to soften skin tones and reduce harsh contrasts, making it popular in studio settings. This design prioritized aesthetic rendering over maximum sharpness, with an of 200mm that supported 6x6 and 6x7 formats while maintaining even illumination. The GX680 system's bellows-compatible lenses, including the 80mm and 180mm models, enabled Scheimpflug adjustments for selective plane of focus control, enhancing depth management in portraiture. In applications for 4x5 sheet film, Fujinon's wide- offerings included the 65mm f/5.6 SWD, a super-wide design with a 106° of coverage and a 169mm that fully illuminated 4x5 sheets (diagonal 162mm) while permitting limited rise/fall and tilt movements on view cameras. This lens excelled in by minimizing distortion at the edges and providing uniform sharpness across the frame, essential for expansive scenes. extension on view cameras allowed precise Scheimpflug implementation, aligning the lens plane, film plane, and subject for optimal focus planes in architectural or shots. Telephoto options for included the 360mm f/6.3 W process lens from the CM-W series, optimized for high-resolution copying and reproduction with a 485mm that covered 4x5 and extended to 6x9 sheets (diagonal 106mm) without falloff. Historically, these lenses found use in studio environments for precise product and in landscapes for compressed perspectives, with their robust construction supporting bellows-mounted view cameras. Some models, like the SWD series, remain available through specialty suppliers for enthusiasts seeking with modern compatibility. These analog designs served as conceptual predecessors to the tilt-shift capabilities in Fujifilm's GFX digital system.

Lenses for Digital Fujifilm Systems

Fujinon's lenses for the X-series mirrorless cameras utilize the X-mount and are engineered to maximize the performance of X-Trans sensors, providing exceptional sharpness, color fidelity, and control across a variety of focal lengths. The premium XF series includes primes like the XF23mm F1.4 R, a fast standard lens equivalent to 35mm on full-frame that excels in low-light portraiture and with its nine-blade diaphragm for smooth out-of-focus areas. Zooms such as the XF16-55mm F2.8 R LM WR deliver professional-grade versatility, covering wide-angle to short telephoto (24-82.5mm equivalent) with a constant f/2.8 for consistent exposure in dynamic scenes. Complementing these, the more accessible XC lineup offers compact options like the XC15-45mm F3.5-5.6 OIS PZ, a lightweight power zoom (23-69mm equivalent) with optical for everyday shooting and vlogging. As of November 2025, recent additions include the XC13-33mm F3.5-6.3, providing an ultra-wide to standard zoom range (20-50mm equivalent) for travel and landscapes. For the medium-format GFX system with its G-mount and 43.8 x 32.9mm sensors, Fujinon's GF lenses prioritize ultra-high resolution and tonal gradation to capture intricate details in landscapes, portraits, and studio work. Primes in this series, such as the GF55mm F1.7 R WR, provide a normal (44mm full-frame equivalent) with rapid and minimal for shallow depth-of-field effects on large sensors. Standard zooms like the GF32-64mm F4 R LM WR (25-51mm equivalent) maintain edge-to-edge clarity across the zoom range, making it suitable for environmental portraits and product photography. Specialized optics include the tilt-shift GF30mm F5.6 T/S, which offers ±15mm shift and ±8.5° tilt for correcting in architectural and interior shots while recording shift data in metadata for post-processing. Recent developments as of September 2025 include the GF32-90mm F3.5 R LM WR, a versatile zoom (25-71mm equivalent) with power zoom capabilities for video and hybrid workflows on GFX systems. To extend telephoto capabilities, the GF1.4X TC WR multiplies the of compatible GF lenses by 1.4x, such as turning the GF110mm F2 into an effective 154mm f/2.8, with minimal loss in speed or image quality when paired with weather-sealed bodies. Many XF and GF lenses incorporate weather-resistant (WR) designs with up to 10 seals on barrels and mounts, allowing operation in light rain, dust, or temperatures down to -10°C when used with WR-rated cameras. performance benefits from (LM) technology in models like the XF16-55mm F2.8 and GF32-64mm F4, enabling near-silent, high-speed focusing as quick as 0.02 seconds for tracking subjects in stills or video. These lenses are optimized for Fujifilm's digital systems through close collaboration between and design, ensuring compatibility with in-camera processing that applies aberration corrections for , chromatic shifts, and peripheral falloff specific to each model via profiles. Additionally, the Lens Modulation Optimizer enhances sharpness by compensating for and edge softness, preserving the nuanced color rendition and that complement Fujifilm's film simulations for a film-like aesthetic straight out of camera.

Cinema and Broadcast Lenses

Cinema Lenses

Fujinon's cinema lenses are engineered for professional and digital production, emphasizing consistent light transmission, minimal distortion, and compatibility with and large-format sensors. These lenses feature precise T-stop calibration for predictable exposure control, standardized 0.8 MOD gear rings for follow-focus integration, and interchangeable mounts such as PL and EF to suit various camera systems. The company's offerings span high-end zooms for blockbuster productions to compact, affordable options for independent filmmakers, all leveraging decades of optical expertise. The Premista series represents Fujinon's flagship cinema zooms, optimized for large-format sensors with an up to 46.3mm diagonal. Key models include the 19-45mm T2.9 wide-angle zoom, the 28-100mm T2.9 standard zoom, and the 80-250mm T2.9-3.5 telephoto zoom. The 19-45mm and 28-100mm maintain a constant T2.9 aperture throughout their ranges, while the 80-250mm holds T2.9 up to 200mm before ramping to T3.5, enabling shallow and smooth via 13-blade irises. These lenses support ZEISS eXtended Data for lens metadata in and have been employed in major Hollywood films. Weighing around 3.3-3.8kg, they balance studio-grade durability with portability for demanding shoots. Developed in collaboration with , the Alura series provides lightweight zoom options tailored for cameras, covering formats with consistent optical performance. Notable examples are the 15.5-45mm T2.8 wide zoom and the 30-80mm T2.8 standard zoom, both featuring T2.8 apertures throughout their ranges, minimal , and front diameters of 114mm or 134mm for easy . The longer 45-250mm T2.6 telephoto complements these, offering a 5.5x zoom ratio and close focus from 0.7m, ideal for versatile narrative work. These lenses prioritize reduced weight—around 2.3-3.6kg—without compromising resolution or color fidelity. The MK series delivers accessible, high-performance zooms for emerging filmmakers, with the 18-55mm T2.9 and 50-135mm T2.9 models covering essential focal lengths from wide to telephoto in Super 35. Each maintains a constant T2.9 , 200° focus rotation, and macro capabilities, all in compact bodies under 1kg for handheld or use. Available in E, EF, and PL mounts, they integrate seamlessly with mirrorless and cinema cameras. The Cabrio series, including the ZK19-90mm T2.9 and ZK85-300mm T2.9-4.0, bridges broadcast and cinema workflows via detachable servo drive units for powered zooming, while supporting manual operation. These PL-mount lenses feature 9-blade irises for natural and have powered numerous Hollywood blockbusters, continuing Fujinon's legacy in professional cinema since the mid-20th century.

Broadcast and Television Lenses

Fujinon's involvement in broadcast and television lenses began in 1962, when Fujifilm initiated research and development for TV lenses amid the rise of color in and globally. Drawing on expertise in optical instruments like cameras and projectors, the company developed early television lenses to meet the demands of emerging broadcast standards. By the mid-1960s, Fujinon introduced its first zoom lenses for television applications, enabling dynamic adjustments essential for live production and news gathering. Box-style lenses represent a cornerstone of Fujinon's broadcast portfolio, designed for high-magnification coverage in demanding environments like sports and large events. The UA107x8.4 series, a 4K-compatible box lens with an optical 107x zoom range from 8.4mm to 900mm (extendable to 1,800mm), incorporates advanced and optical (OIS), making it ideal for remote operation in live sports broadcasts. This lens achieves high-resolution imaging while maintaining compact form factors suitable for integration with 2/3-inch sensors, supporting 4K UHD workflows. For studio and news applications, Fujinon's long-range studio zooms provide exceptional reach and stability. The HZK25-1000mm F2.8-5.0 box lens offers a 40x zoom from 25mm to 1,000mm (extendable to 1,500mm with a built-in 1.5x expander), featuring integrated OIS to counteract vibrations from operator movement or environmental factors, which is crucial for steady news coverage and indoor events. Compatible with both Super 35mm and full-frame sensors, it delivers consistent optical performance across the zoom range, with minimal breathing and distortion for professional broadcast output. Fujinon's broadcast lenses emphasize seamless integration with production equipment, including servo controls for precise remote operation. Full-servo kits like the SS-13D enable digital zoom and focus demands on ENG/EFP lenses, compatible with tripod-mounted systems for studio and field use, allowing operators to maintain smooth control during extended shoots. These lenses also support HDR workflows, with wide that preserve detail in highlights and shadows, as seen in models like the UA18x7.6 for balanced exposure in high-contrast scenes. Additionally, integrated 16-bit encoders provide lens data output for virtual systems, facilitating (AR) overlays in live broadcasts by syncing virtual elements with real-time camera movements. Fujinon lenses have achieved prominence in major global events, particularly Olympic coverage, where their reliability and high-zoom capabilities have been deployed extensively. For instance, during the , production teams like MIRA Mobile and Bexel utilized Fujinon HD lenses on cameras for alpine and venue coverage, contributing to national feeds and highlighting the brand's endurance in extreme conditions. Since the , Fujinon has expanded its portfolio to include 8K UHD capabilities, with developments like the HP66x15.2 and HP12x7.6 box lenses introduced in the late and early , supporting ultra-high-resolution broadcasting for future-proof applications in and . In 2025, Fujinon introduced the LA30x7.8BRM, a 4K portable ENG offering 30x magnification (7.8-234mm) for gathering and production. These advancements build on 4K foundations while incorporating servo enhancements and AR compatibility for evolving live production needs.

Specialized and Accessory Optics

Enlarging and Projection Lenses

Fujinon's enlarging lenses emerged as key tools in analog darkroom workflows, beginning with the introduction of the E-Rectar triplet designs in 1950, produced under the Fuji Photo Film brand in Odawara, Japan. These early models evolved into more advanced six-element orthometar configurations by the 1960s, with the Fujinon-E series, followed by upgrades like the Fujinon-ES in 1975 and Fujinon-EP, emphasizing improved contrast and resolution for high-magnification printing. By 1983, the Fujinon-EX line incorporated Electron Beam Coating (EBC) for enhanced light transmission and apochromatic correction, replacing the EP series around 1986-1987 and becoming a benchmark for sharpness in professional darkrooms. Central to these lenses' performance was their flat-field optical design, optimized to project sharp, distortion-free images across the entire frame, making them suitable for formats from 35mm to 6x6 without significant corner falloff or curvature. Representative examples include the Fujinon-EX 50mm f/2.8, compatible with EL-Nikkor enlargers and renowned for its high resolution—achieving up to 90 line pairs per millimeter at f/5.6 in —ideal for detailed 35mm prints at magnifications from 2x to 20x. For higher magnifications and larger negatives, the Fujinon-ES 105mm f/4.5 offered robust coverage and flat-field uniformity, supporting enlargements up to 10x with minimal aberrations, particularly in black-and-white workflows. This design philosophy shared similarities with Fujinon's taking lenses, providing broad image circle coverage for versatile analog applications. In projection systems, Fujinon's flat-field lenses ensured even illumination and sharpness for slide and display, with legacy models from the to tailored to analog setups. These , often featuring air-spaced elements for reduced , were integral to archival and educational presentations, with many EX-series components still available today through specialty suppliers for maintaining vintage equipment. Overall, Fujinon's emphasis on apochromatic correction and high-contrast coatings in these lenses supported the precision required for professional enlarging and projection through the decline of analog processes in the late .

C-Mount and Industrial Lenses

Fujinon's C-mount lenses adhere to the standard 1-inch (25.4 mm) thread mount with a of 17.526 mm, enabling compatibility with a wide array of industrial cameras for applications requiring precise . These lenses typically feature focal lengths ranging from 8 mm to 50 mm and maximum apertures around F1.4, optimized for low-light performance in CCTV and systems. This design supports compact integration into automated setups, where the C-mount's robustness withstands vibrations and environmental stresses common in industrial environments. The HF series represents Fujinon's high-resolution offerings for , delivering sharp imaging suitable for 4K-level with minimal thanks to aspherical elements and advanced coatings. For instance, the HF-SA variant resolves down to 3.45 μm pixel pitch for 5-megapixel sensors in 2/3-inch formats, ensuring low barrel or below 0.1% across the field of view, which is critical for accurate defect detection in . Similarly, the HF-HA-1S series targets 1.5-megapixel resolution at 6.2 μm pitch, incorporating anti-shock and vibration features for reliable performance in dynamic lines. Varifocal zoom lenses, such as the 2.8-12 mm F1.4 models, provide adjustable focal lengths for flexible surveillance in security systems, allowing users to adapt to varying field-of-view requirements without swapping optics. These lenses maintain consistent brightness and minimal focus shift during zooming, supporting day-night operations in industrial monitoring. Fujinon's C-mount lenses have been applied in factory automation and since the 1970s, evolving from early developments in 1965 to support automated and precision diagnostics. In factory settings, they enable high-speed inspection of components on assembly lines, while in medical contexts, they facilitate detailed imaging in endoscopic and diagnostic equipment. These lenses are compatible with 's industrial sensors and partner camera systems, such as those using 1-inch or 2/3-inch formats, ensuring seamless integration for enhanced resolution and data accuracy.

Monoculars and Binoculars

The company's monocular offerings include the PS-910 , featuring illumination for enhanced visibility in low-light conditions, suitable for nighttime exploration. The emphasize and durability for demanding environments. The Techno-Stabi 14x40 model incorporates gyro-stabilization to counteract hand tremors, delivering a steady 14x with 40mm objective lenses ideal for , sports events, and marine applications. This series achieves up to ±6° of vibration correction and is waterproof to 1 meter for 5 minutes, ensuring reliability in wet conditions. The Stabiscope series, including the 12x28 model, provides tailored for low-light , with ±3° correction and IPX7 for submersion up to 1 meter for 30 minutes. These utilize electronic gyro systems for up to 30 hours of operation on CR2 lithium batteries, supporting professional and recreational use in challenging scenarios like or . Fujinon's optical devices incorporate advanced elements such as for superior , drawing from shared glass technologies developed for lenses. Developments in these products trace back to the 1980s, when Fujinon pioneered image-stabilized like the original Stabiscope for consumer and professional observation needs.

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